D Major Pentatonic over D Major#9??

[Music_for_life]

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Or D minor I am confused..The aim was to creat a tension and a counterpoint between the bass melody and guitar melody.
Here is the recording at 2:45, I am playing a lick that has F# major the older version had a pure D major at that part..
Now the chord is not clear, how do you listen to it...the phrase over that chord....It generates a tension that I like but I want to know the theoretical part of that
I listen in keyboard a D Major#9...but the #9 is louder cause it is the Higher note so at first I listened to it as a D minor
I went to the keyboard and I play a D Major#9 on top and I think it is the chord (I don´t want to bother the keyboard player asking, he is very happy with the result of the song..ot him to hurt his feelings or that I think he must change his part)

I am right with the chord???
What do you think about it??

I want the opinion of pros out there
Thanks

[sanderic]

The question needs some clarification. when you say D maj #9, do you mean D, F#, A, Db, and F?, (major conotates a major 7 in the chord), or did you mean D, F#, A, C ( a dominant seventh) and F?

[Snarf]

The chord in question is D minor (I in the key). I didn't hear any unusual tensions. Your major pentatonics sound like they're clashing.

Also they keyboardist's use of that block-#11 patch is pretty questionable, as the guitarist and vocalist are clashing with that as well (towards the beginning of the tune).

[longfinger]

the tracks sound good. I would not worry about the notes too much in the way you ask about them.

Some subjective observations about that section. Not a big deal either way...

- around 2:20 there some "crunching" going on in the lower register. Did you overdub bass guitar parts? Then you solo, could be more clear in the mix. At 2:41 your bass line was buried too much, It seems that you should still be the main soloist while the guitar is still waiting and building up to solo. At 2:50 bass seems to disappear and then re-appear at 2:56. Perhaps it would be better to keep playing in the high register and then go back down when the voice comes in.

[Music_for_life]

Originally Posted by sanderic

The question needs some clarification. when you say D maj #9, do you mean D, F#, A, Db, and F?, (major conotates a major 7 in the chord), or did you mean D, F#, A, C ( a dominant seventh) and F?

I meant D, F#, A, F... without the 7th

[jmattbassplaya]

So do I need to be the first person to say that track sounds pretty freaking amazing!

[Music_for_life]

Originally Posted by longfinger

the tracks sound good. I would not worry about the notes too much in the way you ask about them.

Some subjective observations about that section. Not a big deal either way...

- around 2:20 there some "crunching" going on in the lower register. Did you overdub bass guitar parts? Then you solo, could be more clear in the mix. At 2:41 your bass line was buried too much, It seems that you should still be the main soloist while the guitar is still waiting and building up to solo. At 2:50 bass seems to disappear and then re-appear at 2:56. Perhaps it would be better to keep playing in the high register and then go back down when the voice comes in.

Thanks I will take all that for the cd version that will come out in some months, this is only a pre mix of the song
So it is good to have this reviews

[Music_for_life]

Originally Posted by jmattbassplaya

So do I need to be the first person to say that track sounds pretty freaking amazing!

Thank you for your nice words!!

[longfinger]

Originally Posted by Music_for_life

I meant D, F#, A, F... without the 7th

That chord is commonly called D(add#9). We use the "add" to indicate that there is a 9th but no 7th.
Another name could be D(add#2). "add" is better than "sus" here as well, as we want to indicate that there is a root, a 2nd, and a third all together, no suspension-resolution thing happening.

Proper Spelling is D, F#, A, E#. (Use E#, not F natural.)

[sammyp]

Originally Posted by longfinger

That chord is commonly called D(add#9). We use the "add" to indicate that there is a 9th but no 7th.
Another name could be D(add#2). "add" is better than "sus" here as well, as we want to indicate that there is a root, a 2nd, and a third all together, no suspension-resolution thing happening.

Proper Spelling is D, F#, A, E#. (Use E#, not F natural.)

i've never heard of such a chord.....don't really believe that exists theoretically ......i'd say it's D7#9 with the 7 implied

now i'm not saying people can't get creative and do whatever they want with notes .....but i have never heard of a major chord with a #9 in 25 years of play/study....could be wrong ...but generally something a bit more mainstream is implied...

[Randyt]

I thought the tune was great..but I would love to hear you a little more in the mix , specially when it came to your solo and interlude.

Well done!

[Snarf]

Originally Posted by longfinger

That chord is commonly called D(add#9). We use the "add" to indicate that there is a 9th but no 7th.
Another name could be D(add#2). "add" is better than "sus" here as well, as we want to indicate that there is a root, a 2nd, and a third all together, no suspension-resolution thing happening.

Proper Spelling is D, F#, A, E#. (Use E#, not F natural.)

That's just D7#9 without the 7th, which is implied (as someone above mentioned).

This is all moot though. If you listen to the chord in the song, it's a D minor. To the OP: ask your keyboardist how he's voicing it.

[longfinger]

Originally Posted by sammyp

i've never heard of such a chord.....don't really believe that exists theoretically ......i'd say it's D7#9 with the 7 implied

now i'm not saying people can't get creative and do whatever they want with notes .....but i have never heard of a major chord with a #9 in 25 years of play/study....could be wrong ...but generally something a bit more mainstream is implied...

Moving away from the OP's musical example, an (add#9) chord can exist if you make it so. It's pretty rare, but if that's what you want, then make it happen. The reason to use it, is to tell the interpreting player NOT to play a 7th (either b7 or 7). So if I wanted a player to play Ab, C, Eb, B and only those 4 notes, nothing else, the chord name Ab(add#9) does it best.

I was transcribing a friend's original song and he was definitely using an (add#9 chord). Tonic chord strumming Ab, C, Eb, with a guitar melody note climbing Ab, Bb, B. In that case the chord names to describe the progression would be: Ab, Ab(add9), Ab(add#9). The Ab triad is constant and the rising melody note gives the (add).

If one wants D7(#9) then use it.
If one wants Dmaj7(#9) then use that.
If one wants D(add#9) then use that.

I'm just talking about the notes and the names, not the OP's musical example.

[Music_for_life]

Originally Posted by Snarf

That's just D7#9 without the 7th, which is implied (as someone above mentioned).

This is all moot though. If you listen to the chord in the song, it's a D minor. To the OP: ask your keyboardist how he's voicing it.

Playing it with the keyboard I think he is voicing it this way; D, F#, A, F
With the F# that gives a tension